Oleg Dou is the pseudonym of artist Oleg Douryagin.

Born in 1983 in Moscow. Graduated from the Moscow Institute of Steel and Alloys, specializing in economic programming. Since childhood he was interested in art, became interested in creating computer graphics. In 2005 he took up photography and began to combine it with post-processing. He works in various media from digital images and video to sculptures.
Winner of International Photography Awards (2007), International Color Awards (2008) and Arte Laguna Art Prize (Italy, 2009). Nominee of the Kandinsky Prize in 2007 and 2008.
Oleg created a Photoshop cover commissioned by Adobe, participated in the “Leaders of Public Opinion” program, creating works at the invitation of the Culture Department of the Brazilian Ministry of Foreign Affairs. He has collaborated with brands such as Givenchy, Juun J, David Koma. 
His works are in museum collections of Luxemburg Museum of Modern Art, Luxembourg; Ekaterina Foundation, Russia; Jan des bouvrie, Institut Culturel Bernard Magrez, France; Samawi Collection, Dubai; Jeju museum of art, Korea; 21 cMuseum, USA; Moscow Multimedia Art Museum, Russia; FRAC Reunion, France; Sollo Collection, Spain and others. As well as in private collections in Russia, America and Switzerland. 

SELECTED EXHIBITIONS AND PROJECTS:

• 2025 — Oberton Graphics  Fair a—s—t—r—a gallery, Moscow, Russia 
• 2025 — Fair |catalog| November, a—s—t—r—a gallery, Moscow, Russia
• 2025 — Cosmoscow, a—s—t—r—a gallery, Moscow, Russia
• 2024 — Fair |catalog| December, a—s—t—r—a gallery, Moscow, Russia
• 2024 — Cosmoscow, a—s—t—r—a gallery, Moscow, Russia
• 2024 — St. Petersburg Art Fair “1703”, a—s—t—r—a gallery, Manezh, St. Petersburg, Russia.
• 2024 — Fair |catalog| April, a—s—t—r—a gallery, Moscow, Russia
• 2019 — “Mutant”, solo exhibition , Osnova Gallery, Moscow, Russia 
• 2018 — “Looking Back and Beyond”, group exhibition, Deborah Colton Gallery, Houston, USA 
• 2018 — “Elèctric i llunyà”, group exhibition, Tecla Sala Cultural Center, Barcelona, Spain
• 2017 — “Elegance”, group exhibition, RTR Gallery, Paris, France 
• 2016 — “On behalf of baboushka”, group exhibition, RTR Gallery, Paris, France 
• 2016 — “All eyes on me”, group exhibition, Pechersky Gallery, Moscow, Russia 
• 2016 — “Lonely Narcissus”, solo exhibition, Osnova Gallery, Moscow, Russia
• 2014 — “Faces”, solo exhibition, Galerist, Istanbul, Turkey
• 2014 — “8 years. Retrospective”, solo exhibition, RTR Gallery, Paris, France
• 2012 — “Another Face”, solo exhibition, Museum of Multimedia Arts, Moscow, Russia
• 2012 — “Tears and Toy Story”, solo exhibition, Museum of Regional Arts of Krasnodar, Russia
• 2012 — “Another Face”, solo exhibition, RTR Gallery, Paris, France
• 2012 — “Reboot”, group exhibition, Red October Gallery, Moscow, Russia
• 2012 — “I am who I am”, group exhibition, KIT Kunst im Tunnel, Düsseldorf, Germany
• 2012 — International Photography Festival, Republic of Korea
• 2012 — “Perestroika”, solo exhibition, Fotofest 2012 Biennial of Photography, Houston, USA
• 2012 — “Photography: Russia, China, Czech and Slovak Republic” group exhibition, Allen Center, Houston, USA
• 2011 — “Cubs”, solo exhibition, Espace Art 22 gallery, Brussels
• 2011 — “Cubs”, solo exhibition, Senda Gallery, Barcelona, Spain
• 2011 — FotoArtFestival, BWA, Bielsko, Twarze, Poland
• 2011 — “Cubs”, solo exhibition, RTR Gallery, Paris, France
• 2011 — “Gevaarlijk Jong”, group exhibition, Dr. Ghislain Museum, Ghent, Belgium
• 2011 — “F for Fake”, group exhibition, Belvedere Palace, San Leucio “Smell, Colour, Chemestry, Art and Education”, Santa Monica Museum, Barcelona, Spain
• 2010 — “Toystory”, solo exhibition, Flatland Gallery, Utrecht, Netherlands
• 2010 — “Toystory”, solo exhibition, Senda Gallery, Barcelona, Spain
• 2010 — “Russian Tales”, group exhibition, EXPRMNTL gallery, Toulouse, France
• 2010 — “Russains! Photographic portrait 1970-2010”, group exhibition, OREL ART gallery, Paris, France
• 2010 — “Atopia”, group exhibition, Center for Contemporary Culture of Barcelona, Barcelona, Spain
• 2010 — “inSPIRACJE”, festival, Poland
• 2010 — “L'exquis et l'obscur”, Galerie D.X, Bordeaux, France
• 2009 — “Tears”, solo exhibition, Art Espace 22, Brussels, Belgium
• 2009 — “Les Visages”, group exhibition, Interalia, Seoul
• 2009 — “Look me in the Eyes”, group exhibition, RTR Gallery, Paris
• 2009 — Pingyao International Photography Festival 2009, China
• 2009 — “Visage. Image. Timps”, group exhibition, Ekaterina Cultural Foundation, Moscow Biennale of Contemporary Art, Moscow

Fair |catalog| April 2023, a—s—t—r—a gallery, Moscow, Russia

SELECTED PUBLICATIONS:

• Artguide - Year Three: the results of art fair 1703
  
• Photoplay - Talks. Oleg Dou
  
• Moskvich Mag - This is my city: artist Oleg Dou
  
• ArtInvestment - Artist of the Week: Oleg Dou
• U magazine - Artist Oleg Dou - about fashion, design and art collaborations
  
• BURO. - The Carol Christian Poell store will host an exhibition of artist Oleg Dou
• Next Level - Oleg Dou. Sketches

1975 — 2022

Member of the Moscow Union of Artists, Sculpture Department.

• 1998 — Graduated from Moscow State University, Faculty of Art and Graphics
• 1996-2002 - Worked in the creative workshop sculpture V.V. Sidorenko
• 2011 — Member of the Sculpture section of the Moscow Union of Artists and the Association of Moscow Sculptors
• 2018 — Is included in the top 100 Russian artists, according to InArt
• 2020 — Finalist of the XIV International Arte Laguna Award

Valentin Korzhov's sculptural practice can be characterized as absolute spatiality, striving for a dynamic aesthetics of space. Influenced by Heidegger's phenomenology and his unusual concept of insignificance as the fundamental basis of existence, Korzhov placed his sculptural interventions - mysterious narratives about matter and the self - at the ontological point zero, in the void. Through the juxtaposition of sinister sculptural compositions and physical voids of barren fields and empty surfaces, a third space of unlimited spatiality arises.

Korzhov was born in Moscow, received a degree in sculpture at the Art Academy and began his professional career in the workshop of the sculptor-master Viktor Sidorenko. In his works, neoclassical images of the body merge with postmodern ideas about materiality, origin and relics, creating objects that are both present and simulacra archaeological fragments from uncertain, distant times, whether in the past or the future. In multidisciplinary installations that manipulate space as a medium, the artist created immersive experiences that draw inspiration not only from the resources of art, but also from modern philosophy and science.

The temporality in Korzhov's works is shifted; he reads the palimpsest of civilization as a complex tapestry of intertwined texts, images, and archetypes, moving away from the historicism of sculpture to the primordial mythographic space that encompasses the distant future. In his spatial constructions, different temporalities merge, opening up new ways to interpret the history of images through text, theory, visual culture and sensory perception. As a research-based practitioner, the artist was constantly involved in dialogues with thinkers of the past and present, retelling the discourse of modern culture in a unique way.

In the artist's practice, it is difficult to single out one direction - each of his works is a combination of sculpture and artistic composition, arranged with theatrical precision and captured on a photographic lens. Korzhov transforms each of his projects into a large-scale collaboration involving internationally recognized photographers, filmmakers, actors, and professional technicians. The end result for the viewer is a multifaceted installation with the effect of deep immersion, with a combination of sculpture, video and photographic art.

Valentin Korzhov was a member of the sculpture section of the Moscow Union of Artists, and his personal exhibitions were held at the Ekaterina Cultural Foundation and the State Museum of Fine Arts. Darwin, the Vinzavod Center for Contemporary Art, the Voronezh Academy of Arts, and others. The Archeology of Memory exhibition was shown as a parallel program during the V International Moscow Biennale of Contemporary Art. In 2018, the BEING & TIME project was included in the main projects of the VIII Tashkent International Biennale of Contemporary Art, and in 2020, Valentin became a finalist for the XIV Arte Laguna International Prize and in March presented his installation "THE BRAIN THAT PASSED AWAY" in Venice.

Korzhov lived and worked in Moscow. Tragically died in 2022 as a result of a car accident.

ABOUT «DARVIN VS DARVIN» PROJECT:

The «Darwin vs Darwin» project is an original attempt to synchronize the laws of human biological and spiritual development. Valentine's fantastic multimedia project not only collides the beginning and the end of the evolution of all living things, but also forces us to live this drama as an instant evolution of consciousness, vision, and art itself. Within the framework of the project, hyper-realistic animalistic and humanoid sculptural objects made of silicone, made in FX technology, were created, which gives the impression of absolute authenticity of what is happening, as well as works of photographic and video art.

ABOUT «BREAKFAST AT CRONUS» PROJECT:

The «Breakfast at Cronus» project is focusing on the foundational narratives of Ancient Greece, examines the ancient myth of Cronus, the progenitor of time, and a number of other archetypal characters in order to reveal the expanded basis of reality; the appearance contained in pure reality. Korzhov starts from Heidegger's concept of poetry – the act of creation or creation, identical to metaphysics and poetry, as well as the immediate reality of the material world, ready for transformation by us. This discovery leads to the truth or essence that underlies our technological imagination and helps something to arise.

ABOUT «VIA SACRA» AND «THUS SPOKE HEAVEN» PROJECTS:

If his early projects emphasize the animal nature of the human being (Darwin vs Darwin), then over time, the spiritual principle is increasingly reflected in his works. Valentin has been searching for a very long time, groping for a way to depict feelings, emotions, subtle, intangible substances in sculpture and at the same time avoid direct quoting. And if in the first projects the straightforwardness of statements is characteristic of the artist, then in recent works he has come to a compromise of allegory and figurativeness. He takes casts from Greek statues as a form for casting sculptures and uses this form as a cell, shell — it symbolizes our body. It is a vessel for the immaterial contents, which leads us to the superman (according to Nietzsche), the soul.

ABOUT «BEING AND TIME» PROJECT:

The «Being and Time» project presented variants of the earthly embodiment of the geometry of cosmic bodies. Valentin uses photographs of galaxy clusters, nebulae, and asteroid belts as a prototype for his works. To model objects, the artist has developed a special method for connecting points of light sources in photographs of space. The works are like "cosmic casts", in which it is barely possible to guess man-made, they tell the viewer about the forms of existence in the Galaxy. Korzhov materializes cosmic voids in objects. Manifesting the primacy of the "ideal law" of being over time, he gives a substantive idea of the connection of civilization with the cosmos. The artist's work appeals to archaic knowledge about the universe. Back then, the idea of the "scope of life" depended on imagination. This approach may be relevant today as an experience of cognition of being and time.

ABOUT «ANIZOTROPIA» PROJECT:

The «ANIZOTROPIA» project consisting of sculptures and objects, explores the theme of space and form in the context of non-existence as a legacy of Heidegger's metaphysics of form. The very name of the project is associated with the idea of the ancient Greeks about the unique, invisible and unpredictable growth trajectory of various objects in nature. This term is widely used in solid state physics, chemistry, and crystallography to determine the dependence of an object's characteristics on its anisotropic state. To put it more simply, a material is considered isotropic when its properties are the same in all directions. If the properties of the material change with a change in direction, the material is considered anisotropic. Similarly, a sculpture made of metal pipes and everyday objects takes on an internally unpredictable form during the creative process, and the final result is unknown until the last moment. Following the artist's inner natural logic, the readymades used in installations lose their clarity and functionality, turning into a pure form.

SELECTED EXHIBITIONS AND PROJECTS:

• 2025 — Fair |catalog| November, a—s—t—r—a Gallery, Moscow, Russia
• 2025 — Cosmoscow, a—s—t—r—a gallery, Moscow, Russia
• 2025 — The way to Cronus, a—s—t—r—a Gallery, Moscow
• 2023 — Darwin vs Darwin. Zimova Art Buro, Moscow
• 2022 — Breakfast at Cronus. Nadya Kotova Gallery, Antwerp, Belgium
• 2021 — Observer of Immense Space. Public Art. Zaryadye, Moscow
• 2020 — Anizotropia. Artcatch Art Center, the Netherlands 
• 2020 — Round around. Gridchinhall Gallery, Cube Moscow, Moscow
• 2020 — ROUND AROUND Together with Oleg Khvostov, Gridchinhall Moscow, Cube Art Center, Moscow. 
• 2019 — Being and Time. Asia Contemporary Art Show, Gallery Bruno Massa. Hong Kong.
• 2019 — Being and Time. Bahrain International Exhibition and Convention Center. Manama, Bahrain.
• 2019 — Across Borders, Bahrain
• 2019 — Being and Time, Ekaterina Cultural Foundation, Moscow
• 2018 — International Biennale of Contemporary Art, Tashkent
• 2018 — The Last Job, Mikhail Shemyakin Foundation, St. Petersburg
• 2018 — Flesh And Sky, Gallery 11.12, curated by Attila Fattori Francini, Vinzavod, Moscow
• 2017 — Natural History Lessons History, State The Museum named after Darwin, Moscow
• 2017 — "Actual Russia: a game of classics", jointly with the State Center for Contemporary Art. Saratov State Art Museum named after A.N. Radishchev
• 2016 — "Actual Russia: Habitat", The State Museum of Modern History of Russia, Moscow
• 2014 — Bely Kurgan, Academy of Arts, Voronezh
• 2013 — "Archeology of Memory", A parallel program of the V Moscow Biennale of Contemporary Art, curated by Vladimir Potapov. Gogol Center, Moscow. 
• 2013 — Project of the V Moscow Biennale of Contemporary Art, Moscow 
• 2012 — Zeta Flood, Gogol Center, Moscow
• 2009 — Grey Screens, Central House of the Artist, Moscow

Born in 1983 in Kemerovo.

Graduated from St. Petersburg State Academy of Art and Industry named after A.L. Stieglitz at the Department of Monumental and Decorative Painting, workshop of Prof. V.G. Lekanov (2004-2010) and Kemerovo Art College at the painting and pedagogical department (1999-2004). The works of the artist are in the Russian Museum.

In his works Kirill considers the idea of globalization as a metaphor for biblical subjects, using a stylistics referring to the aesthetics of the High Renaissance. Koteshov dissects the aesthetics of classical body image, exploring a motif reminiscent of Michelangelo's late sculptures from the Slaves series - spiraling bodies, somewhere unfinished, hardly carved from stone. 

The artist also creates industrial landscapes transformed into futuristic images of the city, using Kuzbasslak - coal tar, which refers to the industrial context of his small homeland.

SOLO EXHIBITIONS AND PROJECTS:

• 2024 — “Cosmopera”, a—s—t—r—a gallery, Moscow 
• 2010 — “Stolpopotvlenie”, Atelier No. 2 Gallery, Moscow
• 2010 — “Vive la jeune Garde”, Atelier du vent, Rennes
• 2010 — “L'Exposition d'Ilya Gaponov & Kirill Koteshov”, Maison du ventes Leclere, Marseille
• 2010 — “Summer snow”, Maison du Loir-et-Cher, Blois
• 2008 — “Three Days”, Triumph Gallery, Moscow
• 2008 — “The Last Snow”, Globus Gallery, St. Petersburg
• 2008 — “UNDER GROUND”, Manezh, Small Hall, St. Petersburg
• 2007 — “Kuzbass Parallel”, Triumph Gallery, Moscow
• 2007 — “Position”, Museum of St. Petersburg State Art and Design Academy, St. Petersburg

GROUP EXHIBITIONS AND PROJECTS:

• 2025 — Fair |catalog| November, a—s—t—r—a gallery, Moscow, Russia
• 2025 — Cosmoscow, a—s—t—r—a gallery, Moscow, Russia
• 2024 — Fair |catalog| December, a—s—t—r—a gallery, Moscow, Russia
• 2024 — Cosmoscow, a—s—t—r—a gallery, Moscow, Russia
• 2024 — St. Petersburg Art Fair “1703”, a—s—t—r—a gallery, Manezh, St. Petersburg
• 2024 — Fair |catalog| April, a—s—t—r—a gallery, Moscow, Russia
• 2023 — Fair |catalog| December, a—s—t—r—a gallery, Moscow, Russia
• 2023 — Cosmoscow, a—s—t—r—a gallery, Moscow, Russia
• 2023 — St. Petersburg Art Fair “1703”, a—s—t—r—a gallery, Manezh, St. Petersburg, Russia
• 2021 — “Answer 42” in the framework of the International Women's Forum, Kuzbass Ice Palace, Kemerovo, Russia
• 2020 — “Realism: yesterday and today. Art and Truth”, the branch of the Russian Museum in Malaga. Spain, Malaga
• 2020 — “Artists and collectors to the Russian Museum.Gifts.1898 - 2019. Selected” State Russian Museum, St. Petersburg
• 2019 — “Beauty: PLUS-MINUS”, Central Exhibition Hall “Manezh”.
• 2018 — “Project of interregional cooperation in the field of contemporary art NEMOSKVA”
• 2016 — “Ark”, as part of the V International Biennale of Young Art, Moscow.
• 2016 — “Changes”, Ural Vision Gallery, Budapest
• 2015 — “Russia. Realism XXI century”, State Russian Museum, Benois Building, St. Petersburg
• 2014 — “Newer than New” as part of the Baltic Biennale, New Museum, St. Petersburg
• 2014 — “Strictness and Beauty”, Ural Vision Gallery, Yekaterinburg
• 2014 — “The Other Capital”, Moscow Museum, Moscow
• 2014 — “Actual Drawing”, State Russian Museum, St. Petersburg
• 2014 — “Waterline” installation, as part of the parallel program of the biennale “Manifesta10”, Rizzordi art foundation, St. Petersburg
• 2013 — ICONS. Creative space Tkachi. St. Petersburg, Russia
• 2011 — “Gates and Doors”, State Russian Museum, St. Petersburg
• 2010 — ART Moscow, Triumph Gallery, Moscow
• 2010 — “Vive la jeune Garde”, Atelier du vent, Rennes
• 2010 — Summer Snow. Maison du Loir et Cher. Blois, France
• 2010 — “Hero of Our Time”, Moscow International Biennale “Stop! Who's Coming?”
• 2010 — “Futurology”, Garage Center for Contemporary Culture, Moscow.
• 2009 — Kandinsky Prize Exhibition. Louise Blouin Foundation. London
• 2009 — ART Moscow, Triumph Gallery, Moscow
• 2009 — VIII Krasnoyarsk Museum Biennale, Krasnoyarsk
• 2009 — Festival of Contemporary Art ART Zavod, Yekaterinburg (GTSI)
• 2009 — “Topology of Happiness”, Historic Architectural Museum Tsaritsyno, Moscow
• 2009 — “Russian Beauty”, GTSI, Moscow
• 2009 — Europe Art Fair 2009, Geneva, Switzerland
• 2009 — Art Basel Selection, Basel, Switzerland
• 2008 — “Death.net”, Art Gallery “Victoria”, Samara.
• 2008 — “White Space” Gallery, London
• 2008 — Festival of Contemporary Art ART Zavod, Yekaterinburg (GTSI)
• 2008— ART Moscow, Triumph Gallery, Moscow
• 2008 — “Pereuchet” Manege, Small Hall, St. Petersburg
• 2008 — “Memory of Fields”, loft-project “Etazhi”, St. Petersburg
• 2008 — Festival of contemporary art “Snegarry”, Kemerovo
• 2007 — “The Most New”, Atelier Gallery No. 2, Winzavod Center for Contemporary Art, Moscow
• 2006 — Festival of contemporary art “Art - Status”, Kemerovo
• 2006 — First Biennale of Contemporary Art, St. Petersburg
• 2005 — Exhibition of competitive works “The Nutcracker”, Exhibition Hall of the State Opera and Ballet Theater of the St. Petersburg Rimsky-Korsakov Conservatory
• 2003 — Work of the Year, Kemerovo Union of Artists, Kemerovo

ABOUT THE PROJECT “TREE OF LIFE”:

The main goal of the exhibition is to show the specifics of the functioning of drawing in contemporary Russian art. The main focus is on works from the 1990s-2000s, but earlier material, mostly related to conceptualism, is also included. The exhibition demonstrates various ways of actualizing drawing and drawing technique.

The intention of the work reflects the contemporary artist's distrust of the proper degree of grandeur of the space around him. The desire for the “great” inevitably leads to the element of monumental art organized according to classical laws. The idea is realized using the plot of the most daring creative event in the supposed history. The Tower of Babel, not the authentic stone steps of the ancient temple, but its mental construction, has penetrated the structure of memory and language as a multidimensional symbol. The creative act of erecting the tower can be regarded as a pure desire for greatness. The transformation of desire into action generates architectural splendor, allowing man to order nature according to the rules of supports and slabs. The creation of the tower (pillar) is the technological magnification of human civilization, and it continues to this day. Peoples, institutions, cultures and subcultures, overt and covert societies are equivalent as elements of the structure, the removal of one of them provokes instability of the puzzle. The personification of social realities turns into a metaphor of the construction process, where each character becomes an architectural block. It becomes clear that the piled bricks, which fall into place on their own, may not be aware of the existence of the Architect. Meanwhile, there is an Architect. In his role for a moment appears an artist creating virtual architecture. The scale and risk of this endeavor is deliberately high. An enthusiastically begun tower has turned into a construction frozen for lack of funds; a creation of grandiose utility risks turning into an aimless pandemonium of the crowd. And so, as a reminder of the great collapse of great ideas, the spirit of the titanic frescoes of the Renaissance inevitably accompanies the building. Considering the idea of globalization as a metaphor for biblical stories, the author uses a stylistic style that in its formal features refers to the aesthetics of the High Renaissance to build a sharp compositional structure. The body in this work merges one with the other. The body becomes at the same time a living matter, an inanimate object, a fragment, a puzzle, a detail of a mechanism that extends beyond the space of the canvas. By dissecting the aesthetics of the classical image of the body, the author thereby explores a motif that in some ways resembles the moment of Michelangelo's last sculptures from the “Slaves” series - these are spiraled bodies - somewhere unfinished - almost not carved from stone.  One can notice such a modernist gesture in them - the body both is and is not. In the same way, the body in Corpus II becomes a kind of refrain and continuation of the classical story of man, his spirit and struggle. The span of time of which we are participants and observers is a time of tectonic shifts of concepts and paradigms, like the Renaissance. Global structures absorb identities, leading to unification - of languages, images, worldviews. But can total equation be avoided? can a compromise between identity and the global emerge? can nations remain? Mixing and equation seems to be inevitable, but polyphony is always deeper and more complex. The paradox of globalization is the realization of identity. The tower cannot be completed. The general will still collapse into the particular. 

Actual Drawing Exhibition, 2014, Marble Palace, Russian Museum

Space Opera” exhibition, a-s-t-r-a gallery, Moscow, 2024

“The Tree of Life is a complex image that exists in various cultures and is one of the monumental symbols of life, the planet and all living things. Kirill Koteshov reinterprets this image in the form of a large pictorial installation, enveloping the entire space and completely absorbing our visual perception. The monumental pictorial installation, which was created in the Russian Museum for the exhibition “Actual Drawing”, really combines monumental painting, which practically turns into wall painting. The drawing is executed so qualitatively that it creates a feeling of the work of old masters, nevertheless, the theme of the Tree of Life and its realization by Kirill Koteshov remain relevant today.  In Kirill Koteshov's work, the tree is formed by the intertwined figures of people, the bodies touching and connecting with each other, creating a sense of a tree crown, a monolithic mass moving upwards and uniting all things into a single bond. The bodies are devoid of faces, gender, individual characteristics, but they are physically ideal, perfect and identical. The figures support each other, make each other bend, move, assume certain poses - but all together they form a single chain of being, a life taking shape, a mass that seems indestructible.”

Kirill Koteshov

SELECTED PUBLICATIONS:

• Artguide - Year three: the results of art fair 1703
• Artguide - Cosmoopera. Imaginary Architecture by Kirill Koteshov
• Vedomosti - Classics and contemporaries: four new exhibitions of spring
• BURO - Who's new? Participating artists worth coming to Cosmoscow 2023 for
• Playbill - What to see at the new contemporary art fair |catalog|

Grigory Orekhov is an artist and sculptor, born in Moscow in the family of the outstanding Soviet sculptor, academician, People's Artist of Russia Yuri Orekhov. His work is characterized by perfection of form and metaphorical depth. One of his significant works is the sculpture "Tumbler Agatha", created in honor of the artist's daughter. Agatha's birth was an inspiring and significant event in Gregory's life, vividly reflected in this work.

Grigory Orekhov is known for his projects in the field of public art and land art.

Grigory Orekhov is a regular participant of the Cosmoscow International Contemporary Art Fair. In 2017, he participated in the international exhibition "Start" at the Saatchi Gallery in London. 

In 2017, Grigory Orekhov installed the 4-meter-high sculpture "Agatha" at the main entrance to GUM on Red Square, and two years later it decorated the architectural ensemble of Stoleshnikov Lane, becoming the central element of Moscow's urban space.

In 2019, Grigory Orekhov became the first contemporary artist to present his work in the historical space of the Peterhof State Museum-Reserve – the sculptural composition "Eternity", dedicated to the 220th anniversary of the birth of Alexander Pushkin. Also in the same year, at the 58th International Venice Biennale, he presented the site-specific installation "Salvation" in the garden and on the facade of the Scuola Grande della Misericordia.

In 2020-2021, his sculpture OVOID 7.1 was presented on the Cathedral Square of the Moscow Kremlin as part of the exhibition "Carl Faberge and Fyodor Ruckert. Masterpieces of Russian Enamel" in the Museums of the Moscow Kremlin.

Grigory Orekhov also created Russia's first modern sculpture dedicated to Kazimir Malevich in the park of the same name in 2020.

In 2021, he presented a large-scale land art project "Crossroads" on the Moskva River, drawing attention to the problem of building protected areas in the Moscow region.

In 2022, Grigory Orekhov took part in the first land art project "White Forest" in K. Malevich Park with his work "Nowhere", a 250-meter red carpet laid out in a snow-white forest along linden alley.

In 2023, he created a unique sculpture “Talmud” in the middle of Lake Senezh among thickets of reeds as part of the state program for landscaping the territories of the Moscow region.

He actively participates in solo and group exhibitions. His works are in the collections of the Russian Museum, MAMM and in private collections. In addition, Grigory Orekhov holds the post of General Director of the Sculptor Foundation of the Russian Academy of Arts and is a member of the Moscow Union of Artists.

SELECTED EXHIBITIONS:

• 2024 — Dream Shuttle, Toile Blanche Contemporary, Saint-Paul-de-Vence
• 2024 — Echo, Land Art project in Malevich Park, Moscow Region
• 2023 — Red Vertical 2022, a land art project in the Moscow region
• 2021 — Crossroads, a land art project on the Moskva River, Moscow Region
• 2020 — Harvest, Land art project, Moscow region
• 2019 — Eternity, Peterhof State Museum, Saint Petersburg
• 2019 — Major Tom, installation at the Skolkovo Golf Club, Moscow
• 2019 — Salvation, Scuola Grande della Misericordia, Venice, Italy
• 2018 — Undoubtedly, the Shchusev State Museum of Architecture, Moscow
• 2017 — Agatha, GUM, Red Square, Moscow

SELECTED GROUP EXHIBITIONS:

• 2024 — Group exhibition, Gallery in the East, Compiegne, France
• 2022 — White Forest, Malevich Park, Moscow region
• 2022 — New exhibition "90th anniversary of the Moscow Union of Artists", Moscow
• 2022 — Created in Moscow, Jart Gallery, Moscow
• 2021 — A shadow of the soul, but a little sharper, Multimedia Art Museum, Moscow
• 2021 — Through and Through the Looking Glass, Museum of the 20th and 21st Centuries, St. Petersburg
• 2020 — Another reality, Gallery "O", Moscow
• 2020 — Exhibition of works by the nominees of the First Moscow Art Prize, Zaryadye, Moscow
• 2020 — Ovoid 7.1, for the exhibition of CARL FABERGE and FYODOR RÜCKERT at the Kremlin Museums, Moscow
• 2020 — Artists and Collectors at the Russian Museum, State Russian Museum, St. Petersburg
• 2019 — Personal Structures-Identities, Palazzo Mora, Venice
• 2018 — Breakthrough, Ekaterina Foundation, Moscow
• 2018 — Lilac Ladies, O Gallery, Moscow
• 2018 — KANON, O Gallery, Moscow
• 2018 — RGB, O Gallery, Moscow
• 2017 — Start, Saatchi Gallery, London
• 2017 — Reflexion, O Gallery, Moscow

SELECTED FAIRS:

• 2025 — Fair |catalog|  November, a—s—t—r—a gallery, Moscow, Russia
• 2025 — Cosmoscow, a—s—t—r—a gallery, Moscow, Russia
• 2024 — Cosmoscow, Timiryazev Center, Moscow
• 2024 — BAD, Bordeaux Art+Design, Bordeaux
• 2023 — Art Moscow, Gostiny Dvor, Moscow
• 2022 — Art Moscow, Gostiny Dvor, Moscow
• 2022 — Cosmoscow, Gostiny Dvor, Moscow
• 2021 — Cosmoscow, Manege, Moscow
• 2020 — Cosmoscow, Manege, Moscow
• 2019 — Cosmoscow, Gostiny Dvor, Moscow
• 2018 — Cosmoscow, Gostiny Dvor, Moscow
• 2017 — Cosmoscow, Gostiny Dvor, Moscow

AWARDS:

• 2024 — Gold Medal of the Russian Academy of Arts